Everett Lloyd Bryant stands as a noteworthy figure in American art history, bridging the late nineteenth and early twentieth centuries. Born in the American Midwest, his artistic journey took him across the Atlantic for training and later across the United States, capturing the diverse beauty of his homeland. Primarily recognized for his vibrant floral still lifes and evocative landscapes, particularly those of the American West, Bryant developed a distinct style influenced by Impressionism yet retaining a unique character through his adept use of watercolor and tempera alongside oils. His life, marked by both artistic dedication and adventurous pursuits, offers a fascinating glimpse into the world of an American artist navigating a period of significant cultural and aesthetic change.
Early Life and Artistic Awakening in Ohio
Everett Lloyd Bryant entered the world in 1865 in Galion, Ohio. Growing up in the American Midwest during the post-Civil War era, he reportedly displayed an inclination towards drawing and painting from a young age. However, unlike many artists who receive formal instruction early on, Bryant's path to a professional art career was somewhat delayed. It wasn't until he reached his twenties that he began to pursue dedicated artistic training, suggesting a period of self-discovery or perhaps engagement in other activities before fully committing to the demanding life of an artist. This later start did not seem to hinder his development, as he quickly sought out high-quality instruction to hone his innate talents.
The environment of Ohio in the late 19th century provided a foundation, but like many ambitious American artists of his generation, Bryant recognized the need for exposure to the established art centers of Europe. The allure of London and Paris, with their prestigious academies, influential teachers, and museums filled with masterpieces, was strong. This pull towards international study was a common trajectory for American artists seeking to measure themselves against and learn from the European tradition, even as a distinct American artistic identity was beginning to form.
European Studies and Formative Influences
Driven by his artistic ambitions, Bryant traveled abroad to further his education. He spent significant time in London and Paris, immersing himself in the vibrant art scenes of these capitals. In London, he studied under the acclaimed Anglo-German painter Sir Hubert von Herkomer. Herkomer, a versatile artist known for his portraits, genre scenes, and pioneering work in printmaking and even filmmaking, ran a significant art school in Bushey, attracting students from across the globe. Studying with Herkomer would have exposed Bryant to rigorous academic training combined with a Victorian sensibility for narrative and social realism.
Bryant also sought instruction in Paris, the undisputed center of the avant-garde art world at the time. There, he studied with the Scottish painter William Mouat Loudan. Loudan, associated with the Glasgow School and having studied in Paris himself under masters like Carolus-Duran (who also taught John Singer Sargent), would have offered a different perspective, likely one more attuned to French academic traditions and possibly the burgeoning influence of Impressionism and Post-Impressionism. This dual exposure to British and French artistic currents provided Bryant with a broad technical foundation and diverse aesthetic viewpoints upon which to build his own style.
Return to America: Diverse Pursuits and Further Training
Upon returning to the United States, Bryant did not immediately settle into a conventional artistic career. His life took a more adventurous turn, reflecting a certain restlessness or perhaps economic necessity. He participated in the Klondike Gold Rush, a mass migration to the Yukon region of northwestern Canada between 1896 and 1899. This experience, chasing fortune in the harsh northern wilderness, stands in stark contrast to the refined atmosphere of European art studios. Bryant was also involved in other commercial activities, including gold mining ventures elsewhere, indicating a practical, perhaps even rugged side to his personality alongside his artistic sensitivities.
Despite these detours, Bryant's commitment to art remained. He eventually sought further refinement of his skills back in the United States, enrolling at the prestigious Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia. Founded in 1805, PAFA was one of America's leading art institutions, boasting a legacy of influential teachers and alumni, including figures like Thomas Eakins and Cecilia Beaux. Studying at PAFA, possibly under instructors influenced by or directly including figures like William Merritt Chase, who taught there intermittently, would have reconnected Bryant with the mainstream of American art education, particularly its growing engagement with Impressionism and plein-air painting.
In 1904, a significant personal event occurred when Bryant married Maude Drean. The couple reportedly traveled together in England and France, visiting art galleries and likely further enriching Bryant's visual vocabulary. This period seems to mark a more settled phase, allowing him to focus more intently on his painting, particularly the floral still lifes and landscapes that would become central to his reputation.
Mastery of Floral Still Life
Throughout his career, Everett Lloyd Bryant gained considerable recognition for his floral still life paintings. This genre, with its long tradition in Western art, offered artists a contained subject through which to explore color, form, light, and texture. Bryant excelled in this area, creating compositions noted for their vibrancy and decorative appeal. His approach often combined the careful observation typical of the genre with the looser brushwork and heightened color palette associated with Impressionism.
He worked in various media, including oil, but his use of tempera and watercolor for floral subjects was also notable. Tempera, an egg-based medium known for its potential for fine detail and luminous color, allowed for a different quality of finish compared to the richer impasto often possible with oils. His watercolors captured the delicate translucency of petals and the interplay of light on surfaces. Bryant's florals were not merely botanical studies; they were expressive arrangements, often showcasing lush bouquets in vases, demonstrating his skill in composition and his sensitivity to the ephemeral beauty of flowers. His work in this genre can be situated within a broader American tradition of still life painting, inviting comparison with artists like Emil Carlsen, known for his refined still lifes, though Bryant's style often possessed a more overtly Impressionistic flair.
Journey to the West: Capturing Landscape and Light
A significant shift occurred in Bryant's life and art around 1930 when he relocated to Los Angeles, California. This move marked the beginning of a deep engagement with the landscapes of the American West. California, with its dramatic coastline, mountains, and unique quality of light, was attracting numerous artists and fostering a regional school often referred to as California Impressionism. Figures like Guy Rose, William Wendt, and Granville Redmond were already capturing the distinctive scenery of the state.
Bryant embraced this new environment enthusiastically. He undertook numerous sketching trips throughout the West, venturing into diverse terrains to capture their essence. For these landscapes, he frequently employed watercolor and tempera, mediums well-suited for capturing the fleeting effects of light and atmosphere, particularly in outdoor settings. His Western works often depict expansive vistas, rugged mountains, desert scenes, and perhaps the coastline, rendered with the bright palette and broken brushwork characteristic of his Impressionist leanings.
His Western landscapes contribute to the rich artistic tradition of depicting this region, a tradition established by earlier figures like Thomas Moran and Albert Bierstadt, who captured the sublime grandeur of the West, and continued by groups like the Taos Society of Artists in New Mexico (including painters such as Ernest L. Blumenschein and Joseph Henry Sharp), who focused on the unique cultures and landscapes of the Southwest. Bryant's contribution lies in his personal interpretation, filtering the Western scene through his established style, emphasizing light, color, and atmosphere often with the immediacy afforded by watercolor and tempera.
Artistic Style and Techniques
Everett Lloyd Bryant's artistic style is most accurately characterized as being strongly influenced by American Impressionism, yet uniquely modulated by his personal experiences and preferred techniques. His exposure to European art, particularly French Impressionism, is evident in his attention to light and color, often employing a brighter palette and looser brushwork than purely academic painters. He was skilled in capturing the transient effects of light on surfaces, whether the delicate petals of a flower or the broad expanses of a Western landscape.
His versatility extended to his choice of media. While he worked in oils, his proficiency in watercolor and tempera was a distinguishing feature. Watercolor allowed for spontaneity and luminosity, ideal for capturing atmospheric effects and the freshness of plein-air sketching. Tempera, less common among Impressionists but experiencing periodic revivals, offered crisp lines and vibrant, matte colors, lending a distinct quality to his work, particularly noted in some accounts of his Western scenes. This technical facility allowed him to adapt his approach to his subject matter, choosing the medium that best conveyed his artistic intent.
While clearly influenced by Impressionism, his work doesn't always fit neatly into the category defined by artists like Childe Hassam or Mary Cassatt. Bryant retained a strong sense of form and structure in his compositions, perhaps reflecting his earlier academic training under figures like Herkomer. His style represents a synthesis, blending modern sensibilities regarding light and color with traditional skills in drawing and composition.
Legacy and Recognition
During his lifetime and afterward, Everett Lloyd Bryant's paintings found favor with collectors. His floral still lifes and Western landscapes were commercially successful, often selling for significant sums, as noted in biographical sources which mention sales reaching thousands of dollars – a considerable amount for the period and an indication of his contemporary reputation. This market appeal continues today, with his works appearing at auction and maintaining value, appreciated for their aesthetic qualities and historical context.
Bryant remained dedicated to his art until the very end of his life. He passed away on September 7, 1945, reportedly while still engaged in completing a painting. This final work, titled "Three Men Working," was said to have been completed by his friend, Marlins Berman, as a tribute. This act speaks to the collegial relationships that can exist within the art world and serves as a poignant final note to Bryant's career.
While perhaps not as widely known today as some of the leading figures of American Impressionism or Western art, Everett Lloyd Bryant holds a secure place as a skilled and productive painter. His legacy resides in his beautiful floral compositions and his evocative depictions of the American West, works that capture the light and color of his time and place. He represents the many talented American artists of his generation who absorbed international influences, adapted them to American subjects, and contributed to the richness and diversity of the nation's artistic heritage. His adventurous life, from the Klondike to the California coast, adds another layer of interest to the dedicated artist who skillfully captured beauty in both intimate still lifes and expansive landscapes.
